![\"Queen](\"https:\/\/www.europesays.com\/uk\/wp-content\/uploads\/2025\/12\/Queen-Freddie-Mercury-Brian-May-Roger-Taylor-John-Deacon-Far-Out-Magazine--1140x855.jpg\")
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(Credits: Spotify)<\/p>\n
Thu 25 December 2025 13:00, UK <\/p>\n
It\u2019s hard to really imagine that Queen<\/a> could have added anything to their catalogue by the end of their career.\u00a0<\/p>\n Sure, Freddie Mercury would have surely been making music to this day had he not passed away so quickly, but on every record, they seemed to throw everything and the kitchen sink into the mix if it made for a better record. But just because an album sounds pristine and has millions of overdubs over top of it doesn\u2019t necessarily mean that it\u2019s one of the best albums of all time.<\/p>\n Overproduction is a real problem for even the greatest artists of all time, and Brian May knew when things were going a bit too over the top. He already had a problem with \u2018We Are the Champions\u2019 being too dramatic when they were first working on it, and even the band\u2019s heroes like George Harrison had problems when mixing perfect records like All Things Must Pass when Phil Spector was brought in.<\/p>\n If you look at the actual production of any Queen album, though, you would have sworn that they were determined to use up every single track they had. \u2018Bohemian Rhapsody\u2019 already had a master tape that was nearly see-through by the end, so overdubs were never a bad word. It all comes down to how you use them, and they were clearly working through the bugs before they landed on albums like A Night at the Opera.<\/p>\n There are a few rough edges behind records like Sheer Heart Attack and Queen II, but that\u2019s also a part of their charm. \u2018Stone Cold Crazy<\/a>\u2019 would probably not have sounded as menacing as it does if it had a brighter sheen on it, and since Queen II is probably the closest they would ever come to making heavy metal, hearing the roar of the guitars on \u2018The March of the Black Queen\u2019 is a lot better than May throwing in a guitar symphony on a song that doesn\u2019t really need it.<\/p>\n Those records were all well and good, but the debut is a much different story. Their self-titled record was a fine test-run for what they were going to sound like, but if their sophomore effort was a heavy metal extravaganza, then this was their own version of garage rock. They still had more layers of vocals than any other garage act, but as far as May could see, that wasn\u2019t always a good thing.<\/p>\n